i

2011–2014

EVALU

ATION R

EPORT

NSW

Aboriginal

Arts & C

ultura

l

Strate

gy

21

CONTENTS 1. Executive Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

2. Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

3. Evaluation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

3.1 Methodology

3.2 Table – key result area inputs and outputs

3.3 Inputs

3.4 Activities – what was funded

3.5 Key result area outcomes from funding

4. Case Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

4.1 NAISDA Dance College – Garabara Ngurra

4.2 Moogahlin Performing Arts

4.3 Karla Dickens – NSW Aboriginal Arts Fellowship

4.4 Blacktown Arts Centre – Blacktown Native Institute Program

4.5 Information and Cultural Exchange – Tru Story Cuz

4.6 Arts Northern Rivers – I AM Aboriginal Mentoring Program

4.7 Carriageworks – Artistic Associate

5. Impact and legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

6. Key findings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81

7. Appendices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87

7.1 Notes on data

7.2 List of interviewees

7.3 List of all Aboriginal specific funding 2011–2014

Bangarra dance ensemble Ochres 2015. Photo by

Jhuny Boy Borja

Evaluation Report prepared for Arts NSW by Lois Randall Creative

Consulting 29 March 2016 www.loisrandall.com.au

4

EXEC

UTIVE

SUM

MARY01

EVALUATION

REPORT

NSW Aboriginal

Arts & Cultural

Strategy 2011–2014

The NSW Aboriginal Arts and Cultural Strategy (AACS) 2011–2014, developed and implemented by Arts NSW, included a commitment to evaluation of the effectiveness of the Strategy. This is the evaluation report of the AACS 2011–2014, undertaken for and in consultation with Arts NSW by independent arts consultant Lois Randall.

The evaluation included both quantitative and qualitative analysis:

• Review of data collected under the eight measures across three result areas from acquitted projects funded by Arts NSW under the Strategy 2011–14;

• Analysis of data against the 2010 baseline established for measuring the effect of the Strategy; and

• Research into acquitted projects and development of case studies relating to the four strategic directions of Artists, Visibility, Community and Jobs.

1 EXECUTIVE SUMMARY

65

$3 .8 MILLION Investment by Arts NSW in AACS 2011–2014

1,275 PROGRAMS

Professional development projects and opportunities funded

2,260 EVENTS NSW Aboriginal arts and cultural events funded

839 NEW WORKS Funded and produced

$9 .3 MILLION Total funding for Aboriginal arts and culture 2011–2014

3,530 ARTISTSArtists and arts workers participated in funded programs

1,072,272 AUDIENCES Attended funded events

232 INITIATIVESNSW Aboriginal arts and cultural initiatives funded

SUMMARY OF OUTCOMES THE KEY FINDINGS FROM THE EVALUATION ARE:

1 . VISIBILITY – THERE HAS BEEN AN INCREASE IN RECOGNITION AND APPRECIATION OF DISTINCTIVE NSW ABORIGINAL ARTS AND CULTURAL PRACTICE .

The key result data demonstrated an increased number of NSW Aboriginal arts activities and events, and increased audiences for these events.

The qualitative research revealed increased prominence for NSW Aboriginal cultural identity. Both individual artists and arts organisations have developed new arts practice drawing on NSW Aboriginal stories and culture.

The combination of this deepened engagement with NSW Aboriginal culture, and the creative and professional development programs funded through the Strategy, has resulted in increased capacity and invigorated contemporary practice, particularly in visual arts, theatre and dance.

Guli–bal Libving Culture Weaving project. Kate Holmes 2015 Arts

Northern Rivers Bundjalung Project

87

2 . ARTISTS – THE POOL OF SKILLED NSW ABORIGINAL ARTISTS AND ARTS WORKERS IS STILL SMALL

The key result data demonstrated that the number of Aboriginal artists and arts workers participating in funded projects was low in relation to the increase in funding, projects and opportunities.

While highlighting the broad benefits arising from employment of Aboriginal artists and arts workers, the qualitative research also showed that the pool of skilled artists and arts workers is small and that arts organisations experience difficulty recruiting appropriately skilled arts workers for identified Aboriginal arts positions.

AACS 2011–2014 has resulted in a stronger NSW Aboriginal arts sector with increased visibility and a renewed focus on NSW Aboriginal arts, cultural stories and history. This has benefited NSW Aboriginal artists, the NSW Aboriginal community, and broader communities. It has stimulated and increased the capacity of the NSW Aboriginal arts and cultural sector and set the direction for developing careers for Aboriginal artists and arts workers.

Ongoing training and employment pathways, including a particular focus on high level positions, are now needed to increase the number of skilled NSW Aboriginal artists and arts workers, to develop creative and sector leadership, and to consolidate the outcomes of the AACS.

BRAG.Jonathan Jones.Possum skin cloak and designs

10BACKG

ROUND

The NSW Aboriginal Arts and Cultural Strategy 2011–2014 (AACS) was developed to foster a vibrant Aboriginal arts and cultural sector that affords Aboriginal people greater opportunities to participate in, share and strengthen their culture through arts practice; and develop careers and businesses in the arts and cultural sector.

The AACS was developed by Arts NSW through consultation with the Aboriginal arts and cultural sectors and with the assistance of the Aboriginal Strategy Steering Group, chaired by Djon Mundine OAM.

02

EVALUATION

REPORT

NSW Aboriginal

Arts & Cultural

Strategy 2011–2014

2 BACKGROUND

1 . ARTISTS

Increased participation of NSW Aboriginal people in arts and cultural activity.

2 . VISIBILITY

Recognition and appreciation of NSW Aboriginal arts and cultural practice.

3 . COMMINITY

Aboriginal arts and culture to assist in Closing the Gap.

4 . JOBS

Aboriginal jobs and enterprises within the creative industries.

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Between 2011 and 2014 $3.8 million in strategic funding was allocated through the AACS to 129 initiatives ranging in scale from multiyear programs to small quick response grants for artists. When combined with funding for Aboriginal arts and cultural projects supported through the Arts and Cultural Development Program (ACDP) funding rounds, a total of $9.3 million in funds was allocated to 232 initiatives over the four years of the strategy. Part 3 of the AACS – Future Directions – included a commitment to monitor and evaluate its effectiveness through four key result areas with 12 measures. Following the release of the AACS the original key result areas and measures were reviewed to more accurately reflect Arts NSW’s sphere of influence under the strategy and its capacity to capture data from funded projects. The following three key result areas and eight measures were selected to establish a 2010 baseline and track the progress and outcomes of the strategy over its four year life:

RESULT 2: RECOGNITION OF NSW ABORIGINAL ARTS AND CULTURE, MEASURED AS

6. Number of Arts NSW funded Aboriginal arts and cultural events; and

7. Number of audiences at Aboriginal arts and cultural events

RESULT 3: IMPROVED ABORIGINAL COMMUNITY CULTURAL ENGAGEMENT MEASURED AS

8. Number and dollar value of partnerships which benefit Aboriginal communities

RESULT 1: NUMBER OF ABORIGINAL PEOPLE INVOLVED IN THE ARTS, MEASURED AS

1. Number of programs for emerging artists2. Number of emerging artists involved in mentorships

and apprenticeships3. Number of professional development opportunities

including number of programs and projects4. Number of Aboriginal practitioners who participated

in these programs/projects5. Number of new works created

Data from all ACDP funding that was specifically allocated to Aboriginal arts and cultural programs in 2010 was recorded against these measures to establish a baseline prior to the Strategy. The results for the four years of the AACS, from 2011 – 2014, have now been collected and collated by Arts NSW and the evaluation includes comparison of the key result area outcomes for each year of the strategy against the 2010 baseline.

r e a Native, interactive sound

and light installation, Native Institute, image courtesy

Blactown Art Centre and the artist

14

An independent consultant was engaged to undertake the evaluation of the AACS 2011–2014 for Arts NSW, based on data provided by Arts NSW for the 2010 baseline, then for each year of the Strategy.Discussion and evaluation of the results and impacts of the AACS have been guided by the evaluation measures that were embedded in the Strategy itself, and the Logic Model of Evaluation, which focuses on capturing both qualitative and quantitative data. The Logic Model framework enables discussion of the relationships between resources and activities funded through analysis of resources/inputs, activities, outputs, outcomes and impact. Case studies have been used to provide examples of the immediate and longer-term benefits or changes to the sector, that can be described as a ripple effect, resulting from funded activities.

• Quantitative data analysis

The quantitative measures used to undertake the evaluation were included in the Strategy. A baseline was established for the year preceding the AACS (2010) using key result areas. This has provided the key tool to assess outputs and funded activities in relation to the increased resources provided for NSW Aboriginal arts and cultural programs through the Strategy.EV

ALUATIO

N03

3.1 METHODOLOGY

EVALUATION

REPORT

NSW Aboriginal

Arts & Cultural

Strategy 2011–2014

1615

The data for the analysis has been sourced from Arts NSW funding acquittal reports from both AACS funded projects and from Aboriginal organisations and Aboriginal arts projects funded through ACDP programs from 2011–2014. The Strategy pre-dated the online SmartyGrants system that has now been introduced by Arts NSW to enable data to be captured automatically. The data to establish the baseline and to track the results across the four years of the Strategy was extracted from acquittal forms, once funding recipients completed and acquitted their projects.

The quantitative component of this evaluation is based on analysis of data recording outcomes in relation to the following key result areas:

• Result 1: Number of Aboriginal people involved in the arts.

• Result 2: Recognition of NSW Aboriginal arts and culture.

• Result 3: Improved Aboriginal community cultural engagement.

• Qualitative research and measuring impacts

A broader framework was therefore required to enable consideration and discussion of the impacts or legacy of activities funded through the AACS. Interviews and research have been undertaken to enable deeper engagement and qualitative discussion of outcomes, impacts and legacy of the AACS against each of the four directions of the Strategy. A list of interviewees is attached at Appendix 7.2

Seven case studies were developed from the interviews and research (see section 4) to provide examples of the broader and longer term impacts and legacy of the strategy, and of projects that started a ripple effect of benefits reaching beyond the funded organisations and core group of participants.

The ripple effect extends benefits to:

• other artists and arts workers• project partners• broader NSW Aboriginal arts and cultural sectors• Aboriginal communities in NSW.

IAM wrap up, Tahni Walton Homes, image courtesy Arts Northern Rivers

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3.2 INPUTS AND OUTCOMES AGAINST KEY RESULT AREAS

FUN

DIN

G

PRO

JEC

TS

PART

ICIP

AN

TS

NEW

WO

RKS

ABO

RIG

INA

L

EVEN

TS

EVEN

T

ATT

END

EES

2011 $2,558,672 120 916 67 581 564,046

2012 $2,409,749 130 901 264 448 191,361

2013 $2,241,335 455 820 393 900 164,214

2014 $2,153,855 571 893 115 333 152,651

AACS TOTALS

2011–2014$9,363,611 1,276 3,530 839 2,262 1,072,272

AACS AVERAGE

YEAR$2,340,903 319 883 210 566 268,068

BASELINE 2010 $1,038,897 30 707 47 109 71,025

% INCREASE

FROM BASE125% 963% 25% 346% 419% 277%

• Arts NSW Investment

The strategic allocation to the AACS totalled $3.8 million over four years. Funds from the main Arts NSW funding rounds of the ACDP and other partnerships resulted in a total of $9.3 million investment in NSW Aboriginal arts and cultural programs from 2011–2014, through 232 funding commitments. The average annual funding for Aboriginal arts and cultural programs during the four years of the strategy was $2.3 million. This represented a 125% annual funding increase from the $1.03 million funding through the ACDP in the baseline year of 2010. New strategic funding opportunities established through the AACS included:

• Aboriginal Regional Arts Fund• Aboriginal Arts Fellowship• Aboriginal Quick Response grants.

• Arts NSW AACS Staff Resources

The AACS was led by the Arts NSW Senior Aboriginal Cultural Development Officer, and Arts NSW recruited a second Aboriginal staff member to ensure appropriate delivery of the Strategy and provide better service for Aboriginal artists and arts organisations.

3.3 INPUTS

2019

• Arts NSW AACS Strategic Partnerships

Partnering with other NSW Government programs directed additional investment into the AACS. For example, in 2011 NSW Health and Arts NSW signed a partnership agreement and $140,000 was provided though the AACS to fund a youth drug and alcohol community education project targeting Aboriginal young people aged 16 – 25 from across NSW (see Tru Story Cuz case study ). Commonwealth Government partnerships have also increased funding for the Strategy, such as through the Indigenous Visual Arts Industry Support Program, through which $661,500 was provided towards professional development programs for Aboriginal visual arts workers between 2010 and 2014.

• NSW Arts and Cultural Development Program– other funding for Aboriginal organisations and activities

In addition to the projects funded directly through the AACS, a range of other Aboriginal arts organisations and projects were funded through ACDP grants.

These include Annual Program Funding for Boomalli Aboriginal Arts Co-operative Ltd, Gadigal Information Service Aboriginal Corporation and Saltwater Freshwater Aboriginal Arts Alliance, and Multi-Year Progam Funding for Bangarra Dance Theatre Australia.

Project Funding for Aboriginal arts activities through the ACDP has included funding to Regional Arts Boards, regional galleries and Northern Rivers Performing Arts (NORPA). For example, NORPA received ACDP funding to support the creative development of The Gathering in 2013, a new work inspired by Bundjalung culture, and Mosman Art Gallery received ACDP funding for the creative development and public presentation of the contemporary Aboriginal visual art exhibition Bungaree: The First Australian in 2012. In addition a Quick Response grant was provided through the AACS to support Djon Mundine, the curator of the exhibition, to tour the exhibition. Funding has also been provided to support Aboriginal arts and culture through the NSW Regional Capital Infrastructure program such as $74,500 for National Aboriginal Islander Skills Development Association (NAISDA) refurbishments in 2013. It is not possible for Arts NSW to measure results from Aboriginal arts projects delivered through core programs of organisations funded through the ACDP. For example, Belvoir Street Theatre programs Aboriginal work, but did not receive any specific Project Funding. Similarly, organisations such as Campbelltown Arts Centre and Regional Arts Boards deliver Aboriginal programs and employ Aboriginal arts workers in their core programs. Data for these projects is not segmented in acquittals and was therefore not available for this evaluation.

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• Other government partnerships

Other partnerships that are not specifically for Aboriginal arts and cultural programs have also added value to the AACS and its recipients. For example Fresh AIR is an Artist-in-Residence in Schools program running in NSW from 2014 to 2016, funded through the Artist in Residence (AIR) program, an initiative of the Commonwealth Government through the Australia Council to give school students access to arts and professional artists. The Fresh AIR program has included funding for Park Road Studio: an Indigenous artist in residence at Alexandria Park Community School, managed by Carriageworks (see case study).

• Community and arts organisation partnerships

Many Arts NSW and AACS funding recipients broker funding for projects and activities from multiple government and non-government partners. For example, the Blacktown Native Institute exhibition in 2012 was funded through a partnership between Blacktown City Council ($41,000) and Arts NSW ($45,000). The project is continuing and partners now include Urban Growth NSW and the Museum of Contemporary Art. In many cases the combined funding from other partners is greater than Arts NSW funding. The original evaluation framework for the AACS included valuing these partnerships, in dollar terms, as a measure for Result 3 – Community. Funding is reported to Arts NSW in financial statements but the value of partner contributions has not been captured in the Key Performance Indicator

section of the acquittal forms. For the 2010 baseline, this data was extracted through project-by-project analysis of income and expenditure statements. It has not been possible to resource this same level of data extraction to measure the value of funding partnerships during the four years of the AACS. While the dollar value of these partnerships has not been measured, the case studies and AACS acquittal reports demonstrate that in all cases recipients used funding from the strategy to leverage significant other resources for NSW Aboriginal arts. These include partnerships with a broad range of arts, health, education, housing and community agencies including Commonwealth, state and local government, non government organisations, philanthropy and corporate partners.

From 2011–2014 the following Aboriginal arts and cultural activities were funded:

• 1,275 professional development programs• 839 new works• 2,260 Aboriginal arts events.

The direct beneficiaries of these activities include:

• 232 funding recipients• 3,530 Aboriginal artists and arts workers• 1.07 million attendees at funded

Aboriginal arts events.

3.4 ACTIVITIES – WHAT WAS FUNDED

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• Professional development programs

Professional development was a major focus of Stage One of the AACS. Activities included strategic sector development initiatives such as Darang Muru, the inaugural NSW Aboriginal Dance Forum, presented by Ausdance NSW in 2011 and the inaugural Yellamundie Aboriginal Playwrights Festival and Forum presented by Moogahlin Performing Arts in 2013. Large scale professional development programs included Birrang, a three year capacity building program managed by Bangarra in partnership with Ausdance NSW, for the NSW Aboriginal and Torres Strait Islander (ATSI) Independent dance sector from 2012 to 2014/15. Other initiatives include the Troy Cassar-Daley Indigenous Scholarship for Aboriginal singers, songwriters and instrumentalists and Aboriginal Quick Response funding to support professional development and marketing.The Parliament of NSW Aboriginal Art Prize is also an important professional development program that has been funded through the Strategy. A partnership between the Parliament of NSW, Campbelltown City Council, Arts NSW and UNSW Arts and Design, the program includes a suite of under-graduate and post-graduate scholarships as well as the major prize. A total of 253 artists submitted works to the Parliament of NSW Aboriginal Art Prize from 2011 – 2014. The works were displayed at the NSW Parliament in Sydney before going on to tour regional galleries across NSW.

• New works

In the four years of the Strategy 839 new Aboriginal arts and cultural works were funded in diverse art forms and locations, created through individual artist, group, community and academic research processes. New works supported included:

• 40 new art works created for the Blacktown Native Institute exhibition, 2012

• This Fella My Memory, Moogahlin Performing Arts, 2013• Briwant, by Vicki Van Hout, Performance Space, 2011• Grounded: Earths’ materials, processes and

structures, Nicole Foreshew, 2014.

• Aboriginal arts events

The 2,260 Aboriginal arts events funded included theatre, dance, music, visual arts and cultural exhibitions, festivals and events, such as:

• Black Diggers Project, The Sydney Festival 2013• Walk A Mile In My Shoes, Barefoot Divas, 2012• Touring Elders of Liverpool photographic exhibition

by Mervyn Bishop, 2014• 450 performances and events presented

by Bangarra Dance Theatre.

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• Arts NSW Outputs

Of the 21 listed actions under the Strategy, 19 have now been delivered and many, such as establishing an Aboriginal Regional Arts Fund, are now ongoing programs with significant reach across NSW. Of the remaining two actions, Action 3.1.1 Work with Aboriginal Affairs NSW to develop a NSW Aboriginal Cultural Accord has been superseded and Arts NSW is now represented on the NSW Government Senior Executive Committee which includes NSW Aboriginal Affairs.

This Fella My Memory, Moogahlin Performing Arts, at Carriageworks, 2013

The other remaining Action 4.1 – Create job opportunities in the creative and cultural industries – is a specific focus of Stage Two of the Strategy. As well as client-initiated activities funded through applications to funding rounds, the AACS included priority actions and strategic initiatives, which were direct outputs from Arts NSW.

Establishing the NSW Aboriginal Arts Fellowship was a direct recommendation in the AACS. Since 2010 (paid in 2011) the NSW Aboriginal Arts Fellowship has supported:

• Karla Dickens, Home is where the Rabbits Are body of work (2010/11)

• Tess Allas, researching works held in institutions and private collections of the NSW shellworkers from Queen Emma Timbery to Esme Timbery (2012)

• Nicole Foreshew, Grounded: Earths’ materials, processes and structures (2014).

Another direct recommendation that has been implemented is the revitalisation and expansion strategy for the Message Sticks Festival. The Strategy provided two-year support for Sydney Opera House’s first Head of Indigenous Programming, Rhoda Roberts, and the development of the annual Message Sticks Festival into a multi-arts program of contemporary and traditional Indigenous expression through theatre, dance, song, film, visual art and talks. 10,000 people attended Message Sticks in 2012 with a 40% increase in attendances in 2013, of which 92% were new attendees.

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The data from outputs in key result areas has demonstrated particular success in numbers of activities, events and reach/attendees/visibility. However, both the data and the case studies indicate a need for more employment and sustained support for new practitioners and arts workers, to increase the number of Aboriginal people working in the arts in NSW. Program acquittal forms and data collection need to be tailored to enable data about partnerships and measures for the result area of Community to be tracked and analysed in the next stage of the Strategy and compared to the 2010 baseline. While a relatively small number of Aboriginal organisations secured AACS funding, there were also outstanding success stories for Aboriginal organisations, such as Moogahlin Performing Arts (see case study). Following is a discussion of outcomes from the Strategy in relation to the key result area measures.

• RESULT 1: Number of Aboriginal people involved in the arts

3.5 KEY RESULT AREA OUTPUTS 3530 Aboriginal arts practitioners participated in 1275 professional development programs and opportunities and 839 new works were created.

The two data collection measures for professional development activities in the acquittal forms of “Mentorships, Internships and Apprenticeships” and “Professional Development Programs” are very similar and funding recipients entered data inconsistently across these two measures, including some who reported data for the same projects differently in different years. Similarly, the data collection measures for participants of “Individuals involved in programs” and “Aboriginal Practitioners participated” are very similar. Funding recipients also entered data for similar projects inconsistently for these measures. For the evaluation the data from these four result areas was therefore, consolidated into two measures:

• number of professional development programs, and• number of Aboriginal participants.

The third measure for this result area is:

• number of new works.

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INCREASE SINCE 2010 BASELINE

The results for the number of professional development programs demonstrated a total of 1,275 funded programs, or an average of 319 programs per year compared to 30 in 2010. The average annual funding increase of 125% resulted in a 963% increase in the number of professional development opportunities from the 2010 baseline. However, while the increase in the number of outputs or activities has been high, the increase in the number of Aboriginal practitioners participating is relatively low. The average annual participant number during the four years of the Strategy was 883, compared to 707 in 2010. A 125% increase in funding has only resulted in a 25% increase in Aboriginal arts participants from the 2010 baseline, despite the large increase in number of programs. There were 839 new art works directly funded through the Strategy. This is an average of 210 per year, an increase of 346% from 2010. The data demonstrates that the level of activity and arts outcomes has increased, but the number of Aboriginal artists has not increased proportionally. While this could be due in part to annual fluctuations in the types of activities funded – for instance a small creative development as compared to a large festival work such as Black Diggers – this significant finding is backed up by stakeholders, interviewed for the case studies, who emphasized the need for more skilled arts workers in the sector.

Interviews and reports also revealed that a small number of skilled artists and arts workers have been participants in several AACS funded initiatives in a range of organisations and programs. This is a positive result in terms of employment and professional development for these artists and arts workers, many of whom are emerging as leaders in their sectors. However, several interviewees noted that the relatively small number of experienced Aboriginal artists and arts workers are in high demand, and it is sometimes difficult to fill positions for skilled Aboriginal arts workers. There is a need for more skilled arts workers in all sectors and at all levels. This will require a focus on sustained individual support, training and employment for emerging Aboriginal arts workers in the future.

• RESULT 2: Recognition of NSW Aboriginal arts and culture

Over 1.07 million people attended 2260 NSW Aboriginal arts events funded through the Strategy from 2011 to 2014.

The measures for this result area are:

• number of Arts NSW funded Aboriginal arts events• number of audiences at these Aboriginal events.

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INCREASE SINCE 2010 BASELINE

Data was collected from client acquittal reports to measure the number of Aboriginal arts events funded. Client responses have varied and where possible reporting against this measure has been checked and in some cases adjusted for consistency, measuring each performance as an event. The data tells a success story in both the number of Aboriginal events funded through the AACS and the number of attendees or audiences for these events. 2,260 events were directly funded through the Strategy. This is an average of 566 per AACS year – a significant 419% increase from 109 events in 2010. Over 1.07 million people attended these funded events. The average of 268,000 per year of the Strategy is a significant 277% increase from 71,000 in 2010. A review of the completed acquittal forms revealed gaps in the data, and that the results in this area could be higher still. Some presenting organisations did not report on attendee numbers, sometimes for major events, and in some cases data was provided in one year but not others. For organisations presenting events and programs to large audiences such as Bangarra performances and Mosman Art Gallery’s project Bungaree: The First Australian, additional data has been sourced during the evaluation from annual reports and client interviews, and added to the spreadsheet of data from the acquittals.

Reporting of attendees has also been inconsistent across the sector, with some recipients including broadcast and social media outcomes in attendee data. Again, this has been checked and adjusted where possible.

• RESULT 3: Improved Aboriginal community cultural engagement

The measure for this result area is:

• number and dollar value of partnerships which benefit Aboriginal communities.

As discussed above it has not been possible to measure the number and value of partnerships that benefit Aboriginal communities. However this result area is discussed in the case studies and evaluation of the impacts of the Strategy.

Leanne Tobin, Blacktown Native Institute project, image courtesy Blacktown

Arts Centre and the artist

34

CASE

STUDIES

04

4 CASE STUDIES

The following seven case studies provide examples of the outcomes for the four directions of the Strategy:

1. ARTISTS

• NAISDA Dance College – Garabara Ngurra Talent ID Program

• Moogahlin Performing Arts• Karla Dickens – NSW Aboriginal Arts Fellowship

2. VISIBILITY

• Blacktown Arts Centre – Blacktown Native Institute Program

3. COMMUNITY

• Information and Cultural Exchange – Tru Story Cuz• Arts Northern Rivers – I AM Aboriginal Mentoring Program

4. JOBS • Carriageworks – Artistic Associate.

A Common Pain, Karla Dickens from

BNI Project, 2013

EVALUATION

REPORT

NSW Aboriginal

Arts & Cultural

Strategy 2011–2014

3635

DIRECTION 1 – ARTISTS Increased participation of NSW Aboriginal people in arts and cultural activity by:

• Increasing funding to Aboriginal arts and cultural activities

• Supporting career pathways for Aboriginal arts practitioners

• Developing sector leadership strategies, and; • Continuing opportunities for Aboriginal young

people to participate in arts and cultural activities.

NAISDA and Garabara Ngurra graduate Jordan O’Davis performing in Broadway to Oz

4.1 NAISDA – GARBARA NGURRA NSW ABORIGINAL DANCE CAMPS

FUN

DIN

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EAR

$ A

MO

UN

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# P

ART

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# A

BORI

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ART

ISTS

EM

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PART

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FRO

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# P

ART

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ENRO

L N

AIS

DA

2011 $50,000 35 13

Cowra, Orange, Blue Mountains, Wyong, Condobolin,

Newcastle, Vincentia, North Lakes Condobolin, Newcastle,

Vincentia, North Lakes

3

2012 $65,000 28 10

Cowra, Yass, Condobolin, Blue Mountains, Newcastle, Vincentia, Alstonville, Broken Hill, Bathurst,

Gorokan Condobolin, Blue Mountains, Newcastle, Vincentia, Alstonville, Broken Hill, Bathurst,

Gorokan

5

2013 $46,160 30 9

Cowra, Condobolin, Penrith, Newcastle, Vincentia, Broken

Hill, Dubbo, Bathurst, Kempsey, South West Rocks, Boorowa, Yass,

Wollongong, Central Coast, Blue Mountains

6

2014 $54,970 29 7

Condobolin, Penrith, Newcastle, Vincentia, Broken Hill, Bathurst,

Kempsey, Coffs Harbour, Boorowa, Wollongong,

Central Coast, Blue Mountains MountainsMountainsCondobolin,

Penrith, Newcastle, Vincentia, Broken Hill, Bathurst, Kempsey,

Coffs Harbour, Boorowa, Wollongong, Central Coast,

Blue Mountains

2

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NAISDA Dance College is Australia’s premier Indigenous training college, with professional facilities at Mount Penang on the NSW Central Coast. With a proud tradition of producing the next generation of Aboriginal and Torres Strait Islander performers since 1976, NAISDA is a Registered Training Organisation (RTO) that currently offers full time study for Certificate II and III in Careers in Dance, and Certificate IV and Diploma of Professional Dance Performance. NAISDA’s Indigenous dance and cultural learning camps – now called Garabara Ngurra – started in 2009, initially through the ConnectEd program. Since 2013 the program has been funded through the Arts NSW AACS. The first camps were at NAISDA (2009–2010), and at the National Centre for Indigenous Excellence in Redfern (2011–2013). In 2014 the program was moved back to NAISDA’s purpose built dance studio facilities to give participants a real feel for training at NAISDA. The aim of the one week intensive residential camps is to identify and support school age Aboriginal students in regional NSW who have shown a commitment to dance, and give them an opportunity for skills development, for cultural learning, and to consider education and career pathways. For some country students the camps are a first experience of the city. The state wide spread of regional participants has been possible largely because of the long standing connections of Dance Camp Coordinator, Jo Clancy. Workshops are held in schools to identify students and teachers attend the camps and assist coordinating the camps.

NAISDA is a national facility and its cultural connections have traditionally been with Torres Straight Island and North East Arnhem Land communities. The dance camps include workshops in cultural dance from these communities (with permission) as well as contemporary Aboriginal dance, hip hop, physical theatre, circus, and other dance, arts and cultural skills. Since the introduction of the NSW AACS and the Darung Muru NSW Aboriginal Dance Forum presented by Ausdance in May 2011, there has been a shift in focus for the dance camps to represent and share NSW Aboriginal dance with the young NSW participants. For example, in 2011 NSW Contemporary Aboriginal dancer and choreographer Peta Strachan delivered Darug Aboriginal dance workshops with female participants and Doonooch Song Man and dancer Cecil McLeod delivered Yuin Aboriginal dance workshops with the male participants. Also since Darung Muru there have been several other dance development programs in NSW such as Bangarra Dance Theatre Rekindling Program alongside Garabara Ngurra that have led to a huge increase in young people auditioning for NAISDA. Currently, approximately one third of NAISDA students are from NSW.

Darung Muru brought a focus on NSW dance to the Garabara Ngurra program.This has given young (NSW) people permission and interest in investigating their own stories and dance. Kim Walker, NAISDA Executive Director and Head of Dance.

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After the dance camp participants either apply to study dance at NAISDA or bring new enthusiasm for dance back to their schools and communities. Opportunities for NSW emerging artists after four years of study at NAISDA include pre-professional training with a dance company, further studies, work with dance in schools as an Aboriginal Education Officer, or in community.

There is also an independent dance scene but you need stamina to survive.Jo Clancy, Garabara Ngurra Coordinator

The first two Garabara Ngurra participants to study at NAISDA (Casey Natty and Jordan O’Davis) graduated in 2015. A third, Michaela Jeffreys, is in her final year (see their stories below).

Jordan O’Davis (left hand side) participated in the second NAISDA Dance Camp in 2011, aged around 14, as a student from Hunter School of Performing Arts in Newcastle, after a teacher recommended her. Leaving school at the end of year nine she applied to study at NAISDA, completing Certificate II, III and IV and then the Diploma in Professional Dance Performance in 2015. While completing her diploma, Jordan found out Hugh Jackman was seeking a leading Indigenous female dancer for his Broadway to Oz tour. She sent off an application and show reel, and was selected for the role, performing with Jackman throughout the 6 week tour to Melbourne, Sydney, Brisbane, Adelaide and Perth.

It was an absolutely amazing experience and my first time working as a dance professional in the real world with other professionals. I met a lot of people and I’m now looking for work as a dancer and actor both in Australia and overseas. The dance camp was the first stepping stone to where I am now. I was really shy and it gave me confidence to get out there and do workshops and meet people and apply to NAISDA, and opened my eyes to so many opportunities in dance and the performing arts. It was also important for me to have that cultural connection, from the dance camp and my time at NAISDA, learning Aboriginal and Torres Straight Island songs dances and language. It is something I would have never experienced growing up in the city. This keeps our culture strong and I now get to show others how beautiful our culture is. Jordan O’Davis

Photo of Hugh Jackman and Garabara Ngurra participant, Jordan O’Davis

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young people, including working in schools on the Central Coast and Newcastle, and working towards his goal to establish a business running workshops for young people on story telling through dance and the arts. Casey is also engaged with NAISDA as a teacher passing on his cultural knowledge acquired through the college to the new DAs.

I grew up with traditional Kamilaroi dance but if I hadn’t gone to the dance camp I wouldn’t have known about NAISDA. The camp opened my eyes to the world and possibilities of professional dance.Casey Natty

Michaela Jeffries (above) is a young Wiradjuri woman from Cowra. Jo Clancy first met Michaela in 2010 when she was in year ten at St. Raphael’s Central School, Cowra, when Jo was delivering a dance development program in the NSW Central West. Michaela came on two dance camps in 2011 and 2012. After completing her HSC in 2012, Michaela began her training at NAISDA in 2013, and she is currently completing her Diploma in Professional Dance Performance this year.

Casey Natty (above) participated in the ConnectEd NAISDA dance camp in 2010, aged 16, as a student from Muswellbrook High School. He was recommended by the Deputy Principal after participating in an Aboriginal Leadership camp when he was in year nine, after which he restarted the Aboriginal dance group at the school. After participating in the camp, Casey completed his HSC in Muswellbrook then applied successfully to study at NAISDA, completing the Diploma in Professional Dance Performance in 2014.

During his time as a NAISDA Developing Artist (DAs) he also ran hip-hop workshops at the Garabara Ngurra Dance Camp – at only 18 – which started his interest in teaching and inspiring other young people.

After NAISDA, Casey was accepted as a pre-professional at Sydney Dance Company, where he spent six months. He is now realising his passion for working in community with

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In 2014 when Michaela was completing her Certificate III at NAISDA she successfully auditioned for one of two places with the Wagana Dancers on their tour to the Commonwealth Youth Dance Festival in Glasgow Scotland, where she performed and participated in workshops and masterclasses. In April 2016 Michaela will go on secondment with Wagana again to perform and help deliver workshops at the Honolulu Festival in Hawaii.

Michaela will graduate from NAISDA and is enrolled at the Australian Catholic University for a degree in Education. She hopes to go on to a career path that combines work or a traineeship with an Australian dance company and teaching in primary schools.

The dance camps were the start of my relationship with dance. Going to the dance camp in 2011 when I was 17 changed my life direction and I set my mind on going to NAISDA and a career in dance.Michaela Jeffries

CONTEXT– AACS AND NSW DANCE DEVELOPMENT

In 2011 the inaugural NSW Aboriginal Dance Forum – Darung Muru, presented by Ausdance NSW at the Sydney Opera House, and funded through the AACS, brought together 16 Aboriginal dance sector delegates to identify critical issues in developing and sustaining contemporary and cultural dance practice. Birrang was a strategic response to the NSW AACS and Darung Muru. A three year capacity building program for the NSW ATSI Independent dance sector, funded through the AACS from 2012–2014/15, Birrang was co-ordinated by Bangarra Dance Theatre, Ausdance NSW and Regional Arts NSW in partnership with NAISDA Dance College, Carriageworks and the Australian Film, Television & Radio School. It provided creative and professional development opportunities for Aboriginal dance artists based in NSW through a program of workshops, creative labs and residencies. The program was designed to build the capacity of each individual artist to realise their own goals, share creative ideas and practices and gain the skills and networks to strengthen their careers and the growing independent Aboriginal dance sector across NSW. Delivery of the Birrang program has resulted in a clearer picture of the diversity of the sector in terms of artistic practice, skills, experience, location, age, creative vision, capacity and needs. As a result of the artists building their individual capability, and the Birrang activities bringing them together in a professional context, the sense of a stronger and more confident sector has emerged.

Bungaree’s Farm exhibition, image courtesy Mosman Gallery and the artists

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The creative and professional development opportunities initiated by Birrang over the past 3 years have definitely helped strengthen the Indigenous dance sector in NSW. I was able to participate in the 3 Creative Labs, the Market Development workshop in 2013 and the Creative Residency in 2015.Jo Clancy As a result of Garabara Ngurra and Bangara Birang and Rekindling programs, funded through the NSW AACS, there has been an increase in NSW artists employed, and more confidence in the independent dance sector in NSW.Kim Walker What’s come out of Birrang is momentum for individuals and future leaders and mentors. There is still a need for sector leadership. The will is there. What’s needed is infrastructure – an organization to accommodate it.Shane Carroll

4.2 MOOGAHLIN PERFORMING ARTS INCORPORATED

Yellamundie 2013

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APAM REGISTRATIONT 2012 $770 1

THIS FELLA, MY MEMORY 2012 $50,000 5 1 1000

YELLAMUNDIE ABORIGINAL

PLAYWRIGHTS FESTIVAL AND

FORUM

2013 $65,000 32 6 700

Moogahlin Performing Arts Incorporated was formed in Redfern in November 2007, in honour of the late Kevin Smith’s request, and in memory of the founding members of the Black Theatre. Moogahlin supports both emerging and established Aboriginal performing artists, nurturing work created, produced and performed by Aboriginal people for Aboriginal people. Since incorporation in 2009 Moogahlin has consolidated on a number of key strategic project successes resulting in growth for the organisation and for the First Peoples theatre sector as a whole. In October 2014 Moogahlin became a resident theatre company at Carriageworks, which includes a 50% subsidy on rent and 50% funding towards a new work each year, as well as a shared Aboriginal Project Manager position.Cultural protocols form the basis and foundations for Moogahlin’s organisational model, and with support from the AACS funded a governance and capacity building

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program undertaken by Positive Solutions in 2014, a new strategic plan has been developed for the company, which has since secured Arts NSW Annual Program Funding (in 2015). The Moogahlin Performing Arts company structure has elders at its core, a professional board that overseas company governance, the Artistic Directorate that leads the company’s artistic program, and a part time Company Manager.

Moogahlin’s newly defined strategic goals are:

1. To deliver a strong core artistic program of producing new work, creative development, and regional projects.

2. To inspire and enable emerging and established First

Peoples practitioners to develop, create and produce innovative and stimulating work.

3. To empower our communities through audience

engagement and community development. 4. Be recognised for developing and presenting

distinctive, cross-cultural and interdisciplinary performance works and events.

5. Sector leadership and sustainability by investing in

professional development opportunities across the organisation and fostering new talent in key creative, administrative, and production roles.

Moogahlin’s AACS funded 2013 production This Fella My Memory was the first play written, directed, performed and produced by an Aboriginal theatre company in Redfern for almost 40 years, reflecting the re-emergence of the tradition first begun by the National Black Theatre in the 1970s. Developed over five years the work fused contemporary playmaking techniques with traditional Aboriginal cultural approaches such as shared story telling and community inclusion. It was presented at Carriageworks (presenting partner) from 4 – 7 September 2013 to combined audiences of 1000 people, including significant Aboriginal attendance. Yellamundie (2013) was the first Indigenous playwriting event in Sydney for 20 years. The need was identified as a top priority at the National Indigenous Playwriting Forum. Moogahlin undertook to organise it, working with a national committee, and secured funding through AACS. 21 submissions were received, from which six plays were selected including works by four NSW writers: Jada Alberts, Billie McPherson, Kylie Cooliwell, and Jane Harrison (not living in NSW but from NSW and presented a NSW story). The plays were taken through eight days of development, workshopped with a director, dramaturg and actors, then to a public reading at Carriageworks, with an opening function and forum at Carriageworks as part of Sydney Festival. Yellamundie has proved to be a successful creative development model. Outcomes from 2013 include Jada Albert’s play Weight picked up by Belvoir Street Theatre andrenamed Brother’s Wreck in May 2014, Jane Harrison’s First Contact was further developed and read at the Malthouse Theatre in Victoria, and David Milroy’s Crowbones and Carnivores was presented at the Enright Studio (WAAPA) by Aboriginal Theatre graduating students.

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Yellamundie changed Moogahlin and NSW theatre. There is recognition in the Aboriginal theatre nationally that Moogahlin is nourishing the sector. Being a NSW based company this is having a ripple effect that is very important.People in NSW are inspired to share stories now, and to develop new work. Yellamundie and Moogahlin’s programs have evoked people’s cultural memory in NSW.” Lily Shearer, Moogahlin Co-founder and Creative Producer

A biennial event, the second Yellamundie took place in 2015. 23 submissions were received and six plays selected. However the five submissions from NSW were not competitive enough to be selected. In response, Moogahlin is organising Yellamundie Regional, to support NSW playwright development, elders’ stories through a yarning circle, and programs for young people. In 2015, as well as presenting Yellamundie, Moogahlin established partnerships with arts organisations and community to develop new creative developments and presentations in regional NSW and Western Sydney. These have included:

• Festival of Baiame’s Ngunnhu (Creator’s Fish Traps) in Brewarrina NSW.

• Creative development at Blacktown Arts Centre on NSW mourning rituals, to be presented at Blacktown and Carriageworks in 2017.

• Staging Stories project with Orana Arts working with elders, emerging actors and writers to develop playwrights in Dubbo, Wellington and Brewarrina

• Working within the arts units at NSW, Public Schools in Orange, Dubbo, Warren and Sydney including Blacktown.

Moogahlin’s current priorities include covering more of NSW, workshops and partnerships to identify and develop NSW stories and developing these stories in house or bringing them to Yellamundie. Each year Moogahlin will pick up one play from Yellamundie to produce.

The impact of AACS funding for Moogahlin strategic projects has allowed it to position itself as the leading First Peoples performing arts company in NSW, represented on the National Blackfella Performing Arts Alliance (BPAA,formerly NITF).Lily Shearer

To support the development of NSW Aboriginal theatre Moogahlin would like to see Arts NSW prioritisie NSW artists and/or a special fund for development of NSW stories.

BRAG.Jonathan Jones.Gold trees

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4.3 KARLA DICKENS – NSW ABORIGINAL ARTS FELLOWSHIP

PROJECT FUNDING YEAR $ AMOUNT

NSW ABORIGINAL ARTS FELLOWSHIPT 2011 $15,000.00

Lismore based Wiradjuri visual artist Karla Dickens was awarded the 2010/2011 NSW Aboriginal Arts Fellowship for the body of works Home Is Where the Rabbits Live, dealing with belonging, ownership, a bringing together of two cultures, two worlds with a passion and connection to a football team.

The Fellowship enabled Dickens to buy her first computer, and to work with a digital media artist to create her first short film that has been shown in film festivals, written about by academics, and was included in University of Queensland’s Courting Blakness Symposium in 2014. The body of work from the Fellowship was shown at Firstdraft in Sydney and further work in the series at Ray Hughes Gallery.

The Fellowship was a huge benefit for me and my career. The number one benefit was having money to create a high quality body of work.Even writing the application and focusing on NSW was a positive that still stays very much in the front of my mind when thinking about new work.

Rabbit Country 1, Karla Dickens, Home Is Where The Rabbits Live collection For NSW Aboriginal Artist Fellowship

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In 2013 Karla Dickens was winner of the Parliament of NSW Aboriginal Art Prize, and was awarded $40,000 for her work titled Day of Mourning. She has also been commissioned as a participating artist on several AACS funded programs:

• Bungaree: The First Australian (Mosman Art Gallery, 2012)

• Blacktown Native Institute exhibition (2013) and artists camps (BAC, 2014)

• Hereby Make Protest (Carriageworks, 2014)

A highlight was experiencing Curator Djon Mundine’s process to develop Bungaree.It was ground breaking – gathering with other artists and being educated about the black history in NSW was priceless.

A similar process was used by Blacktown Arts Centre to inform the development of the Blacktown Native Institute exhibition and by Carriageworks for Hereby Make Protest. Dickens believes these important projects deserve extensive documentation and publication outcomes, and that the works should be acquired for NSW galleries and institutions. The Blacktown Native Institute (BNI) project dealt with the tragic history of the stolen generation in NSW (see case study) and Dickens was profoundly affected by the experience.

Working on Black history can have a personal cost… but educating the broader community about the history of the Blacktown Native Institute was the priceless payoff.

Looking back over the last 4 years I am more then happy with the amazing opportunities that made a large impact on my career and art, with my work included in great exhibitions embracing such worthwhile stories. I now am with a great gallery in Brisbane guiding me on my path. I would like to thank AACS for the support I’ve been given.Karla Dickens, Artist.

DIRECTION 2 – VISIBILITY Develop recognition and appreciation of NSW Aboriginal arts and cultural practice, by:

• Increasing access for Aboriginal communities to mainstream arts and cultural institutions

• Promoting NSW as a gateway for contemporary Aboriginal arts and culture: and;

• Supporting initiatives that celebrate and promote local Aboriginal cultural identities.

Brook Andrews caravan, BNI Artist Camp, 2014 Courtesy Blacktown Arts Centre

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4.4 BLACKTOWN ARTS CENTRE – BLACKTOWN NATIVE INSTITUTE PROGRAM

Native Institute Exhibition, installation shot. L-R: Karla Dickens, Jason Wing, Daniel Boyd, Leanne Tobin, 2013 Blacktown Arts Centre. Photo: J Leahy

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THE NATIVE INSTITUTE PROGRAM

2012 $45,000.00 4 7 40 2 1865

THE NATIVE INSTITUTE

ARTIST AND COMMUNITY

CAMPS

2014 $50,000.00 4 52 8 641

Blacktown Arts Centre (BAC) is a contemporary multi-arts facility of Blacktown City Council, located in the Blacktown CBD. The Blacktown Native Institution (BNI) was a residential school for young Aboriginal and Maori children that operated from 1823 – 1829, one of the first known sites where Aboriginal children were removed from their parents and institutionalised. The “blacks town” that grew around the institution as grieving families camped outside its fences, is how Blacktown got its name.

The Blacktown Native Institute for the Aboriginal community is a key site symbolising dispossession, child removal and enduring links to the land.

NSW State Heritage Register.

The site today is owned by Blacktown City Council and Urban Growth NSW. It’s a bare site protected by cyclone fencing and a “No Trespassing” sign in the middle of Blacktown, its history rendered invisible. The Blacktown Native Institute (BNI) project was initiated by BAC to address the need for reconciliation, to increase the visibility and profile of the site and story, and to progress discussions about its future use. Stage one of the BNI project was funded through the AACS in 2012. This involved initial community engagement and workshops followed by a series of ephemeral artist interventions on the site – Sites of Experimentation from June to July 2013, and the BNI exhibition at BAC, from July to September 2013. In dialogue with the Darug community, historians, academics and BAC staff, co-curator and artist-provocateur Brook Andrew lead six Aboriginal visual artists

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– Daniel Boyd, Robyn Caughlan, Karla Dickens, r e a, Leanne Tobin and Jason Wing – to create the new works to commemorate and make visible the history of The Native Institute. Singer/songwriter Krista Pav also undertook a three week residency, developing new work in Ngiyampaa language, culminating in a performance of her new works and a new EP Free Spirit.

The project has been very emotional for the community, the artists and the workers….And the healing has been palpable.BAC Director, Jenny Bisset.

The six selected artists created powerful innovative new works, which enabled BAC to establish a partnership with the Museum of Contemporary Art (MCA) and attract further funding to continue the project. Stage two of the project – a series of three artist and community camps on the site in November 2014, March 2015 and to November 2015 – was also funded through the AACS as a partnership between BAC, Museum of Contemporary Art (MCA) and Urban Growth NSW (UGNSW). The stage two lead artists were Karla Dickens, Leanne Tobin, Darren Bell, and Boolarang Nangamai weavers (Steven Russell and Kristine Stewart). The aim was to activate the site through artist camps. This included on-site artworks and workshop programs, linked to consultation and development of a plan of management for the site by UGNSW, aligned with outcomes from

community consultations for the site to be used for practicing culture, particularly Darug culture, and for education of Aboriginal children and the wider community.The camps included site-specific works with native plantings, performances, workshops discussion and ceremonies. Local photographer Darren Bell took portraits of elders and people telling stories from the Brook Andrews caravan, which were projected onto an old silo on site on the last night. Two local dance families engaged with the project and camped on the site. They developed new dance works based on relevant local stories – Dragon Fly and Bull Rushes from the site and were engaged as artists in the third camp. There has been strong community engagement, over 50 artists have participated in the camps, and the schools program is ongoing. The project and partnership with MCA will continue and could include community management and a cultural centre on site. There were challenges around how to engage local artists and tensions between concepts of “professional” and “community” artists that need to be resolved. Community liaison and engagement was also identified as a challenge, particularly given the painful subject matter. This was addressed in the third artist camp by employment of an Aboriginal Community Engagement worker, highlighting the need for Identified Aboriginal positions to employ workers the community will trust.

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The legacy of the project has been:

• 40 new innovative contemporary art works created in stage one that attracted the attention of the public and the art world to the BNI history

• Huge increase in interaction with the Aboriginal and Darug community

• BNI project website – BNIproject.com – has been built by MCA.

• Partnership with Gadigal Information Service to collect stories about the site

• High profile media coverage locally and nationally including Art Monthly, Koori Radio and NITV.

• Increased awareness of site and its history

• Educational program successful in attracting schools to the site and to BAC

• Steps towards community goals of establishing healing, awareness, education and interpretation and re-vegetation on the site

• Partnerships with MCA (C3W Project), Urban Growth NSW, Greening Australia and Nepean CMA.

Two of the 10 core staff (20%) at BAC are now Identified Aboriginal positions – an Arts Administration and Cultural Leadership trainee, and an Aboriginal Arts Development Officer.

Loving Memory, Karla Dickens, Native Institute, images courtesy Blacktown Art

Centre and the artist

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DIRECTION 3 – COMMUNITY Aboriginal Arts and Culture to assist in Closing the Gap – improve cultural engagement within Aboriginal communities by:

• Developing an Aboriginal cultural accord• Creating partnerships with other government

agencies to increase inclusion of arts and cultural activities within existing programs, and;

• Increasing the capacity of arts organisations and projects to develop community partnerships with Aboriginal communities.

4.5 INFORMATION AND CULTURE EXCHANGE – TRUE STORY CUZ: HEALTH WITH A #HASHTAG

PROJECT FUNDING YEAR AMOUNT #

PROJECTS#

ARTISTS

NEW VOICES YOUTH ARTS INITIATIVE 2012 $140,000.00 3 5

Tru Story Cuz visual artist Lionel Wood from Dubbo, with the health message football he designed through his work on the program. Image courtesy Information and Culture Exchange

Still from Condobolin participant artist Roy Peterson’s music video for It Can’t Happen,

produced through Tru Story Cuz

In 2011 NSW Health and Arts NSW signed a partnership agreement to fund a youth drug and alcohol community education project through AACS, targeting Aboriginal young people aged 16 to 25 from across NSW. The aims were to engage with Aboriginal young people through the arts to deliver both health and arts outcomes.

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Information and Cultural Exchange (ICE), a non–government arts organisation in Western Sydney, in partnership with Gadigal Information Service, was selected through a competitive Request for Proposal process to deliver the project.

Originally titled Make Change Make Art, the project was guided by a reference group of arts and health professionals. The campaign about alcohol and other drug abuse uses video clips, audio tracks and hashtag action from the artists to invite reactions from Aboriginal young people across NSW during October 2013. Three young Aboriginal artists from Condobolin, Marayong and Dubbo were selected from 30 applicants and matched with mentors to create new works to promote culture and wellbeing online through Facebook and YouTube. The creative development and mentoring took place through a series of three gathering circles with 11 Aboriginal artists and mentors, and the artworks were realised through design, painting and music and were the basis for the social media campaign Tru Story Cuz designed to initiate conversations among Aboriginal young people promoting healthy lifestyles. The YouTube clips drawing on the artists’ personal stories showcased the young men as potential community leaders.

The video and music clips and artworks are featured on facebook.com/trustorycuz and reached 22,615 users during the 10 weeks of the program. Condobolin based participant, Hip Hop MC Roy Peterson’s new EP The Preacher is now on Soundcloud, and audiences for the Tru Story Cuz promo clips on Koori Radio (90 plays) are estimated at over two million.

PROJECT FUNDING YEAR AMOUNT #

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INDIGENOUS ARTS MENTORSHIP 2014 $19,000 11 18

Still from Condobolin participant artist Roy Peterson’s music video for It Can’t Happen,

produced through Tru Story Cuz

Arts Northern Rivers (Arts NR) is the Regional Arts Board located in Alstonville that works with individuals, organisations and government to generate, promote and advocate for the arts and creative industries in the Northern Rivers region of NSW.

IAM: Indigenous Arts Mentorship was part of Arts NR’s Indigenous Arts Program funded through the AACS in 2014. Education partners for the project included: TAFE North Coast, NSW Department of Education & Communities (Local schools), SAE Byron Bay. Community

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partners included Lismore and Tweed local Aboriginal Land Councils, Local Government and Byron Community Centre Theatre. The six-month mentoring program aimed to create solid pathways into the creative industries. The scheme selected 10 young Aboriginal creatives aged between 16 and 25 from the Northern Rivers (21 applications were received from Lismore, Coraki, Evans Head, Grafton, Banora Point, Terranora, Byron Bay, Uki, Kyogle and Murwillumbah). These emerging creatives were then matched with arts industry professionals in the art forms of visual arts, music (hip hop), dance, performance (stand up comedy), design, photography, and fashion. At the conclusion of the mentoring participants, mentors and project partners came together for a community showcase. The showcase allowed for a sharing of experiences, a demonstration of skills developed (where appropriate, and information sharing of potential education and career pathways for the participants.

DIRECTION 4 – JOBS Create more jobs and businesses for Aboriginal People in the creative industries by:

• Creating job opportunities in the creative and cultural industries

• Developing capability and sustainable business models for Aboriginal arts organisations, and;

• Investing in product and market development.

Josh Wilson with mentor Digby Moran (Visual Arts). Photographer: Madeleine Brown

Carriageworks Fresh AIR - Park Road Studio Artist in Residence at Alexandria Park Community School Tony Albert, We Can be Heroes,

2013 (detail) Image courtesy Artist and Sullivan + Strumpf

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4.6 CARRIAGEWORKS – ARTISTIC ASSOCIATE INDIGENOUS LEADERSHIP PROGRAM

Hereby Make Protest, Carriageworks, 2014 (install) Image: Zan Wimberley image courtesy Carriageworks

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2012 $75,000.00 7 1 80

LIVE AND DEADLY : 20 YEARS OF THE GADIGAL INFORMATION SERVICE

2013 $30,000.00 62 0 60,000

YEAR 1 – PLACEMENT OF ABORIGINAL ARTISTS AT

ALEXANDRIA PARK COMMUNITY SCHOOL AND THE NATIONAL

CENTRE OF INDIGENOUS EXCELLENCE

2013 $40,000.00 0 0

HEREBY MAKE PROTEST EXHIBITIONS AND PERFORMANCES

2014 $10,000.00 12 1 232

YEAR 2 – PLACEMENT OF ABORIGINAL ARTISTS AT

ALEXANDRIA PARK COMMUNITY SCHOOL

AND NCIE

2014 $40,000.00 3 46

Carriageworks is the largest and most significant contemporary multi-arts centre of its kind in Australia. Housed in the old Eveleigh Rail Yards in Redfern, it has been developed by the NSW Government through Arts NSW. The Carriageworks artistic program is ambitious, risk taking and provides significant support to leading Australian and international artists through commissioning and presenting contemporary work.

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The AACS informed Carriageworks’ five-year plan 2012 – 2016, in which Aboriginal programming is one of five platforms in its curatorial framework, overseen by an Aboriginal Advisory Group. In 2012 Writer/Director, Andrea James was engaged in the full time Aboriginal Identified position of Artistic Associate. The first full time Aboriginal identified position at Carriageworks was funded through the AACS. The aim was to support a practitioner with their own practice and integrate this into the organisation’s programs.

The Artistic Associate job involved:

• Being a member of an artistic leadership team• Working across the whole program, but focused

mainly on Aboriginal projects with the challenge of getting Aboriginal input across whole program.

At that stage the Artistic Associate was the only Aboriginal employee, supported by a supervisor and Advisory Group plus peers across Sydney, and working with a lot of Aboriginal artists. Programs developed by the Artistic Associate included:

2013• Live and Deadly: 20 Years of Gadigal Information

Service exhibition (employed 32 Aboriginal artists, profiled 30 musicians and provided mentorship to Gadigal Information Service emerging producer)

2014• Hereby Make Protest exhibition featuring commissions

of new work by Karla Dickens, Nicole Foreshew and Jacob Nash, with archival items honouring the men and women of the Australian Aboriginal Progressive Society and the Aboriginal Progressive Society.

• Fresh Air Artists in Residency in schools, including the Park Road Studio at Alexandria Park Community School.

• Yellamundie ATSI Playwriting Festival (Moogahlin)• This Fella My Memory performance (Moogahlin)• NAISDA and Bangarra Birang workshops and

projects at Carriageworks• Leading to Solid Ground youth employment

program in 2015

The Artistic Associate position was a catalyst for partnerships. Andrea worked across social history and visual arts as well as theatre, which is her area of practice. She established the partnership with Moogahlin Performing Arts, now a resident company which consisted of a 50% subsidy on rent, for a new work each year, and a shared worker.It also lead to the partnership with Blacktown Arts Centre (Andrea was previously Aboriginal Arts Officer) for the Solid Ground project, and with the Redfern Aboriginal community who now know Carriageworks has a strong Aboriginal program and team.

The Artistic Associate position is now one of four Aboriginal staff within its total of 30 staff (13% Aboriginal staff).

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These four Identified Aboriginal positions are:

• Artistic Associate (now an ongoing core staff position at Carriageworks)

• Aboriginal Project Manager – Arts Leadership position – funded by AACS – shared between Moogahlin and Carriageworks

• Aboriginal Producers for Solid Ground (see below)• Education and Training manager

Co-investment in start up positions is very important. Leadership and new positions now need to be consolidated in arts organisations.

Lisa Havilah, Carriageworks Director

In 2015 the Solid Ground Aboriginal youth employment project was funded through the Commonwealth Government’s Indigenous Advancement Strategy. This three-year strategy, established in partnership between Carriageworks and Blacktown Arts Centre, will provide pathways for young Aboriginal people in NSW into the arts and cultural industries. Solid Ground will create bespoke tertiary education and on the job training programs for 90 young Aboriginal people from Redfern, Waterloo and Blacktown. The $2 million Strategy includes an In Schools Program, Tertiary Partnership Program (with Australian Film, Television and Radio School (AFTRS), National Art School, NAISDA), mentorships and new Aboriginal works.

Solid Ground is a strategic response to the identified need for more skilled Aboriginal artists and arts workers to lead Aboriginal programs. Lisa Havilah

Carriageworks will continue Fresh AIR Year 3 at three schools as part of this program. The artists are almost full time positions in each school, selected and managed by Carriageworks, mentoring Aboriginal students and showing young people career pathways.

This is a great legacy for AACS. Arts NSW and the Australia Council established the model of Artists in Residence (AIR) in schools. Carriageworks went for it and is now continuing the AIR model in Solid Ground. A big plus with AACS is that Arts NSW has employed Aboriginal staff to manage it – this has created direct linkages and leadership and feedback plus a context of a NSW wide vision. It’s been very successful in this regard.Lisa Havilah

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The benefits for the NSW Aboriginal arts and cultural sector resulting from implementation of the AACS are both immediate and ongoing, and will require tracking and evaluation. The immediate increase in funding and the number of activities has benefited NSW Aboriginal artists and arts workers through increased opportunities to make and present work to increased audiences. An important immediate impact has been the renewed focus on and visibility for NSW Aboriginal cultural practice, stories and history. This is demonstrated through the case studies in dance, visual arts and theatre. The case studies provide examples of the longer-term benefits for the NSW Aboriginal arts and cultural sector and people as a result of the implementation of the AACS. The projects and activities in the case studies illustrate the ripple effect of benefits that extend beyond the funded project, organisation, and core artists involved. The benefit of an individualised approach to mentoring, training and education pathways can clearly be seen in NAISDA’s Garabara Ngurra Dance Camps. Early identification of Aboriginal school students in regional NSW who have demonstrated a commitment to dance, and then been given an opportunity, training and guidance

5 IMPACT AND LEGACY

EVALUATION

REPORT

NSW Aboriginal

Arts & Cultural

Strategy 2011–2014

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The new partnership between Blacktown Arts Centre and Museum of Contemporary Art on stage two of the Blacktown Native Institute program is another legacy from the AACS that will have enduring benefits for the NSW Aboriginal arts and cultural sector, and the Aboriginal community. The Artistic Associate position at Carriageworks, funded through the AACS, was also a catalyst for partnerships that have started a ripple effect within the organisation and though the sector. These partnerships included Moogahlin (as discussed above), Gadigal Information Service, Blacktown Arts Centre and NSW Education and Training (schools). The Solid Ground youth employment program is a legacy of the partnerships developed through the AACS funded Artistic Associate. Funded through the Commonwealth Government’s Indigenous Advancement Strategy in 2015, and established as a partnership between Carriageworks and Blacktown Arts Centre, this three-year program will provide individual pathways for school aged Aboriginal people in Redfern, Waterloo and Western Sydney into the arts and cultural industries. Education partners now include schools, AFTRS, National Art School and NAISDA. 90 young Aboriginal people will benefit from training, mentoring, work experience and connections to education and employment pathways over the next three years.

The employment of Aboriginal artists and arts workers through the Strategy has also led to ongoing benefits for the organisations that employ them, the artists who are engaged in the programs they develop, and to the capacity of the sector through the partnerships and

towards possible education and career pathways in dance, has significantly increased the number of NSW students enrolling at NAISDA, expanded the horizons for young people in regional communities, and lead to further education and careers in dance for participants. Similarly the mentorships supported through ICE’s Tru Story Cuz and Arts Northern Rivers’ IAM Program have provided skills development opportunities and career pathways for young people. Unlike the dance camps which open a door to the next step of education at NAISDA, these were short term projects. How to sustain support and track participants after short-term projects requires consideration. Another important legacy of AACS funded projects has been the development of and enduring benefits from partnerships between organisations. This has made a difference for the NSW Aboriginal arts and cultural sector through increased capacity, output and reach. For example Moogahlin initially partnered with Carriageworks to present the first Yellamundie program. This lead to Moogahlin becoming a resident company at Carriageworks and Moogahlin has now developed partnerships including Orana Arts, Blacktown Arts Centre, and NSW Education and Training to deliver programs in Western Sydney and regional NSW. These partnerships increase the capacity of Moogahlin and the reach and benefits of its programs, as well as providing more pathways and connections for NSW playwrights and performers, and for the development of NSW stories.

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These leaders have forged connections, partnerships and networks within and between government agencies, between arts organisations and sectors, as well as providing peer support for other Aboriginal arts workers and leaders. These positions have also provided high-level public service experience and professional development opportunities for the arts workers themselves, who have gone on to work in other organisations or to forge successful arts industry careers.

It’s important that Arts NSW employed Aboriginal staff to manage the AACS. This has created direct linkages, leadership and feedback plus a context of a NSW wide vision. It’s been very successful in this regard. Lisa Havilah, Carriageworks

Professional development opportunities for Aboriginal arts workers have benefited the organisations and sectors involved, as well as the participants.For example emerging Aboriginal curators from across NSW were also funded through the AACS and the National Arts and Craft Industry Support program to undertake specialised, industry-focused professional development. Managed by the ATSI Art Department at the Art Gallery of NSW (AGNSW), the program included residencies at AGNSW and culminated in participants’ projects which included a canoe building cultural revival project, the development of Torres Strait Islander art history resources for the gallery, a documentary on the Euraba Paper Company and development of a training program for Illawarra rock art conservation.This program benefited AGNSW through development of programs and interpretative resources for the collection, as well as benefiting the participants through professional development, connections with artists and arts workers around the country, and ongoing curatorial work. The legacy for the sector has been to develop the next generation of Aboriginal Australian curators and leaders in the visual arts sector.

connections they bring with them. These benefits are particularly evident when Aboriginal arts workers are employed in high-level creative programming and leadership positions. Aboriginal arts workers bring their networks, partnerships and communities to their jobs and to employing organisations, forging new connections and partnerships, and thereby increasing capacity for more projects and the development and creation of more new works.The legacy of co-investment in new Aboriginal arts worker positions through the AACS can be seen from the impact of the Artistic Associate Indigenous Leadership Program at Carriageworks. In 2012 Andrea James was appointed Artistic Associate, to identify and commission new work and lead strategic partnerships as part of the artistic leadership team. The legacy for Carriageworks has been new partnerships and consolidation of Aboriginal arts programming as one of 5 platforms in its curatorial framework. The Artistic Associate position has been integrated into Carriageworks’ core staff, and is now one of four Aboriginal arts workers employed by the organisation. Another legacy has been increased Aboriginal community engagement with Carriageworks’ programs. The employment of an Aboriginal Arts Development Officer at Regional Arts NSW has similarly provided leadership and partnerships for the network of eight Aboriginal Arts Officers employed by Regional Arts Boards, benefiting visual artists across regional NSW. Employment of Aboriginal arts workers at Arts NSW has also been important to the implementation and legacy of the Strategy. The Senior Aboriginal Cultural Development Officer and other Aboriginal arts workers employed within Arts NSW Strategic Initiatives team have provided a state-wide context and leadership.

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The 2011 NSW Aboriginal Dance Forum Darung Muru, funded through the AACS, brought Aboriginal dance sector delegates together to discuss the needs of the NSW ATSI Independent dance sector. The subsequent delivery of the Birrang program to build capacity for the sector has lead to increased confidence and capability for individual artists, and increased knowledge about the sector and its needs and challenges. There is now a need for ongoing development for this sector and discussion around organisational leadership. During the four years of the AACS Moogahlin has emerged as a leader for the NSW Aboriginal theatre sector. Its national creative development program Yellamundie, delivered in 2013 and 2015, has proved to be a successful model for creative development of theatre works. However, the lack of competitive NSW applicants for the program in 2015 highlighted a need for ongoing sector development for NSW playwrights. Moogahlin has responded to this need in its new programs to develop NSW stories and playwrights, and needs ongoing support in this area. The 839 new works developed through AACS supported programs are also an important legacy for the NSW Aboriginal arts and cultural sector and for the communities of NSW.

Warwick Keen, The Many Faces of Bungaree, image courtesy Mosman Gallery and the artists

82

KEY

FINDIN

GS06

The AACS has delivered positive results for NSW Aboriginal artists, arts workers, organisations and communities.

The results demonstrate strong outcomes in increased visibility for and engagement with NSW Aboriginal events and programs of both Aboriginal and non-Aboriginal audiences and communities. Each project funded through the AACS has resulted in outputs for the artists, organisations and communities involved. In most of the result areas there has been a multiplier effect, with the outcomes being greater than the funding increase. A 125% increase in annual funding for Aboriginal arts and culture since the 2010 baseline has resulted in a 963% increase in the average annual number of projects, a 346% increase in new works created, a 418% increase in the number of NSW Aboriginal arts events funded, and 277% increase in audiences for these funded events. The single area where the results have been proportionately low in relation to the increase in funding is the number of artists and arts workers employed or participating in the funded activities. The average number of Aboriginal participants in the funded programs has only increased by 25% from the 2010 baseline.

EVALUATION

REPORT

NSW Aboriginal

Arts & Cultural

Strategy 2011–2014

6 KEY FINDINGS

8483

This demonstrates a need for a strong focus on sustained support, training and employment for more Aboriginal arts workers in the next stage of the AACS. The other result area that requires further development in the next stage of the AACS is the area of Community through:

• measuring of partnerships that benefit Aboriginal communities, and

• sustained strategic support for Aboriginal organisations.

The key findings in relation to the four directions for the Strategy are:

DIRECTION 1: ARTISTS

Participation of NSW Aboriginal people in arts and cultural activity has increased. The case studies illustrate the important outcomes from the funded programs for emerging and professional artists. However, the number of artists participating has not increased proportionally to the numbers of programs. Sustained training and employment for more Aboriginal artists, arts workers and arts leaders should be a priority for the next stage of the Strategy. The Artist case studies demonstrate increasing artist and sector capacity in the NSW Aboriginal arts sector. Strategic support and more employment of Aboriginal arts workers in leadership roles is now required to build on this capacity and develop sector leadership.

DIRECTION 2: VISIBILITY Recognition and appreciation of NSW Aboriginal arts and cultural practice and identity has increased. There has been a significant increase in the number of Aboriginal arts events and in audiences for these events. The case studies also provide examples of the increase in visibility and awareness of NSW culture and stories, through programs that enable artists to research and respond through their arts practice to NSW Aboriginal cultural and social history stories and shared experiences. This can be seen in multi-artist collaborations such as the Blacktown Native Institute at BAC, Bungaree at Mosman, and Hereby Make Protest at Carriageworks. Karla Dickens is also exploring a distinctive NSW cultural identity in her arts practice responding to shared experiences of the Rabbitohs in her body of work for the NSW Aboriginal Arts Fellowship titled Home Is Where The Rabbits Live. Moogahlin Performing Arts was formed to commemorate Redfern’s Black Theatre and is actively engaged in supporting and developing NSW stories. Many interviewees mentioned that the AACS has benefited their own practice and broader NSW Aboriginal arts and culture by encouraging this new attention to distinctive NSW stories and culture. This has lead to a new curiosity and confidence in arts practice around these NSW stories, and has reinforced and promoted NSW cultural identities.

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DIRECTION 3: COMMUNITY

Case studies show the potential for Aboriginal arts and culture to assist in Closing the Gap of Aboriginal disadvantage. Investment in this area has been significant but data needs to be collected to measure the number and value of partnerships benefiting Aboriginal communities. There is a need for sustained support for Aboriginal arts organisations.

DIRECTION 4: JOBS

The outcomes from employment of Aboriginal arts workers and artists in the case studies demonstrates the benefits and legacy for the funded organisations and the sector through partnerships, generating new work and extending reach and community connections. Work is now needed to support sustained training and employment for more Aboriginal artists, arts workers and arts leaders.

LEGACY

Many projects funded through the Strategy have had impacts that have extended beyond the organisation and core artists involved.Factors that have contributed to a multiplier or ripple effects in the case study projects have included:

• Employment of Aboriginal arts workers• Mentoring, training and education pathways• Creative developments around NSW Aboriginal

stories and culture• Leadership by Aboriginal arts organisations and

arts workers• Partnerships between organisations• Capacity building programs

The case studies have also revealed the need for ongoing work to develop sector leadership and capacity building in the independent ATSI dance sector and the NSW theatre sector. It is also recommended that the Evaluation Framework for Stage Two should include longer term tracking of the careers of particular arts workers and artists who have benefited from the AACS, and the legacy of their work. The next stage of the AACS can be informed by these findings, to continue support for NSW Aboriginal artists and arts workers, and to develop NSW Aboriginal stories and cultural practice, and a vibrant NSW Aboriginal arts and cultural sector.

Leanne Tobin, It Starts Here Now, Native Institute installation, 2015

Image courtesy Blacktown Arts Centre and the artist

88

The data that has been evaluated for this report has been manually extracted and processed from acquittal forms from funding recipients ranging from major arts companies to individual artists. Arts NSW acquittal requirements vary for different ACDP programs and clients, and across the sector the quality and consistency of data reported to Arts NSW varied enormously. There were also some obvious gaps and errors in the data provided to Arts NSW.

APPEN

DICES

07

7.1 NOTES ON DATA

EVALUATION

REPORT

NSW Aboriginal

Arts & Cultural

Strategy 2011–2014

Jason Wing, Longing for December 28th, Blacktown Native Institute exhibition, Blacktown Arts Centre

9089

• Jenny Bisset, Director, Blacktown Arts Centre• Shane Carroll, Education Coordinator,

Bangarra Birang• Jo Clancy, Garabara Ngurra Coordinator,

Independent Artist• Karla Dickens, artist, NSW Aboriginal Arts

Fellowship recipient• Lisa Havilah, Director, Carriageworks• Michaela Jeffries , NAISDA graduate• Sharni Jones, Senior Aboriginal Cultural Development

Officer, Strategic Initiatives, Arts NSW (currently A/Manager, Infrastructure Policy)

• John Kirkman | Executive Director, Information and Cultural Exchange (ICE)

• Tahjee Moar, former Emerging Curator, Art Gallery NSW• Alison Murphy-Oates, Project Manager, Moogahlin

Performing Arts• Casey Natty, NAISDA graduate• Jordan O’Davis, NAISDA Developing Artist• Lily Shearer, Co-Founder and Creative Producer, Moogahlin

Performing Arts• Kim Spinks, Manager, Strategic Initiatives, Arts NSW• Kim Walker, Executive Director/Head Of Dance, NAISDA• Peter Wood, CEO, Arts Northern Rivers

7.2 LIST OF INTERVIEWEES

Karla Dickens, Tears to be Civilised 1–4, Blacktown

Native Institute exhibition, image courtesy Blacktown Arts Centre and the artist

9291

RECIPIENT PROGRAM NAME/ PURPOSE AMOUNT ($)

APRA for Song Summit gadigal Pod and Showcase. $16,500.00

Armidale & Region Aboriginal Cultural Centre &

Keeping Place

2010 program funding $53,060.00

Arts Victoria Additional Support for Groundswell Indigenous Music Pilot $12,798.00

Auspicous Arts Projectscreative development of 'Dawes

point: Cosmology Astronomy and Mythical beigns", (auspiced)

$18,000.00

Australian Theatre for Young People

ATYP– DET Aboriginal Transition Drama project $15,000.00

Bangarra Dance Theatre 2010 program funding $178,177.00

Brewarrina Business Cooperative Ltd 2010 program funding $45,000.00

Campbelltown Arts Centre Unsung Heroes' $15,000.00

Campbelltown Art Centre Black 2 black travel Busaries $15,000.00

Campbelltown Arts Centre Aboriginal Arts Strategy $40,000.00

Company B tour of 'The Saphires" to the Daegu International Musical festival, Korea. $8,815.00

Company B for travel costs presenting 'The Saphires" at 2010 Adelaide Festivals Spotlight program $2,344.00

Company B Ltd for strategic industry development of: Indigenous Theatre Development strategy $50,000.00

Aboriginal Affairs NSW Pooled funding – Yabun * $10,000.00

Darlington Primary School

Collaboration with Bangarra to develop a dance piece with ATSI students. $12,000.00

Moogahlin Performing Arts Gathering Ground – Timelessness' $30,000.00

Ms Suzanne Ingramthe 2008 Indigenous History Fellowship:

'Tin Places' the biography of the late Mrs Louisa Ingram OAM

$10,000.00

Music NSW Whichway program manager (part of year 2 of triennial program funding) $45,000.00

Music NSW 12 Scholarships to Song Summit 2010 $9,504.00

NAISDA Camp / Western Sydney

for Residential arts and cultural learning dance camp. $39,339.00

National Aboriginal Islander Skills Development Association Inc

for the strategic development of Future Tracks - Part 1 $50,000.00

New England Conservatorium

of Music

Closing the music gap: an Indigenous music program for the region $37,860.00

Newcastle City Council for The Loft Youth Venue for 2010 program funding $35,272.00

The Performance Space Ltd

for Ms Vicki Van Hout for creation and or presentation of 'Briwyant' $28,170.00

The Performance Space Ltd

for the strategic industry development of 'IndigeLab: Indigenous

interdisciplinary artist laboratory' $25,000.00

Performing Lines – travel costs for pitching 'Corroboree' at 2010 APAM $796.00

Regional Arts NSW for Indigneous visual arts training needs project (2nd payment) $30,000.00

2010 FUNDING RECIPIENTS

7.3 LIST OF ALL ABORIGINAL SPECIFIC FUNDING 2011–2014

9493

Song Company for Showcasing Kalkadunga Man at APAM Spotlight program $9,510.00

Terrasphere Productions

for an additional NSW travel busaries to attend AWME 2010 (Radical Son) $4,000.00

Terrasphere Productions for NSW travel busaries to attend AWME 2009 $16,000.00

Urban Theatre Projects

travel costs for pitching 'The Fence' at 2010 APAM $2,436.00

Urban Theatre Projects Ltd

for the creative development of 'Posts in the Paddock' $26,316.00

UTP & Company B Indigenous Theatre practitioner Mentoring Position $70,000.00

UTS new media and design curator position. $20,000.00

TOTALS $1,038,897 .00

2011 FUNDING RECIPIENTS

RECIPIENT PROGRAM NAME/ PURPOSE AMOUNT ($)

Aboriginal Affairs NSW Aboriginal Cultural Events Funding Pool $10,000.00

Albury City Council for Albury Library/

Museum

the creation and presentation of Indigenous exhibition – Wiradjuri Talk Back $31,500.00

Armidale Aboriginal Cultural Centre &

Keeping Place

Year 1 of triennial program funding (2011–2013) $55,000.00

Art Gallery of NSW The NSW Aboriginal Visual Arts Industry Introduction Program $106,000.00

Art Gallery of NSW A NSW Aboriginal Arts Education Kit $25,000.00

Arts North West Inc for Dhiiyann

Indigenous Unit, Moree

the strategic industry development of the Dhiiyaan Indigenous Unit, Moree $40,000.00

Arts Northern Rivers Inc the 'Fabric Of Our Culture' project $12,650.00

Arts Out West the creation and presentation of the Central West Aboriginal Arts Event $28,030.00

Ausdance NSW the NSW Indigenous Dance Forum 2011 $50,000.00

Australian Theatre For Young People $40,000.00

Bangarra Dance Theatre

year 1 of triennial funding towards the Indigenous Employment Program (2011-2013) $100,000.00

Bangarra Dance Theatre 2011 program funding including escalation $181,384.00

Bangarra Dance Theatre the Bangarra Safe Dance project ( 2011-2013) $50,000.00

Bangarra Dance Theatre

attendance by Indigenous students at performances of Belong at

the Sydney Opera House $4,950.00

Bangarra Dance Theatre refurbishment $70,000.00

Bangarra Dance Theatre

the Indigenous youth performance program (Workshop/Outreach) $30,000.00

Beyond Empathy year 1 of triennial funding (2011-

2013) for the Better Factory Enterprise Strategy, Bowraville NSW

$100,000.00

Biennale of Sydney NACIS program $72,500.00

Blackfella Films Pty Ltd the 2011 Message Sticks Indigenous Film Festival $10,000.00

Boolarng Nangamai Aboriginal Corporation

Participation In The Beauval Indigenous Cultural Exchange, Saskatchewan, Canada $10,000.00

9695

British Councilyear 1 of triennial funding (2011–2013)

for the ACCELERATE Indigenous Australian leadership Program

$30,000.00

Bundanon Trust Aroha Groves: artist in residence $6,450.00

Bundanon Trust the Adopt a School program $20,000.00

ERTH Visual & Physical Inc .

the creation of Creative Development of new work – iBunyip. $30,000.00

Forster Local Aboriginal Land

Council for Tobwobba Art

2011 Program Funding $45,000.00

Gadigal Information Services Klub Koori $25,000.00

Gadigal Information Services recording project (not sucessful in AFP) $30,000.00

Goulburn Mulwaree Council for Goulburn Regional Art Gallery

the strategic industry development of Indigenous Art & Culture for inmates of Goulburn Correctional Centre [VACS]

$41,224.00

Grafton Artsfest Inc the 'Exploring Our Stories' project $4,600.00

Great Lakes Community

Resources Incthe 'Cool Kids Are Hot' program $14,200.00

History Council of NSW Inc Emerging priorities $5,000.00

Illawarra Performing Arts Centre

year 1 of the strategic industry development: The Heritage Services Co-

ordinator position (2011 – 2012) $27,000.00

Kangaroo Valley Arts Festival Inc . the presentation of Dance and Drum $10,000.00

Lake Macquarie City Council for Lake Macquarie City Art Gallery

the schools and education component of `Wrapped in a Possum Skin Cloak by the Lake $12,900.00

Lake Macquarie City Council for Lake Macquarie City Art Gallery

'Bridging Cultures' $31,550.00

Liverpool City Council for Liverpool

Regional Museum

year 1 of the strategic industry development: The Heritage Services Co-

ordinator position (2011 – 2012) $33,000.00

Melbourne International

Comedy Festival

the development of Deadly Funny's NSW program $12,000.00

Moorambilla Voices Limited

Carvin' it up' - The Ngemba Wailwan artists and Moorambilla Voices Project (MV2011) $15,000.00

Moorambilla Voices Limited 2011 Program Funding $49,000.00

Mosman Council the creation of Bungaree: The First Australian (Stage One) $30,000.00

Mr Robert Evittthe 2010 Indigenous History Fellowship:

Aboriginal knowledge, fire, and climate change in New South Wales (1st payment of $20,000)

$10,000.00

Mr Wayne Simon the development of the 'Rock Scissors Paper' professional development program $3,000.00

Ms Karla Dickens the 2010 Indigenous Arts Fellowship $15,000.00

Muru Mittigar Ltd the capital development of the Muru Mittigar museum and traditional knowledge centre $95,000.00

Museums & Galleries NSW

the 2011 Aboriginal summit on models for Knowledge Centres, Keeping

Places and Culture Centres $120,000.00

Music NSW Inc . year 3 of triennial program funding (2009–2011) including escalation $45,000.00

Music NSW Incorporated the Byron Bluesfest Whichway Initiative $12,000.00

NAISDA Talent ID Camp $50,000.00

NAISDA Dance College

the strategic industry development of Future Tracks – 2 $41,686.00

National Gallery of Australia

travel costs for 5 NSW Aboriginal artists to attend Stage 1 Opening Week at

the national Gallery of Australia $11,000.00

9897

New England Conservatorium

of Music`Closing the Music Gap Stage 2 $23,250.00

Newcastle City Council for The Loft Youth Venue 2011 Program Funding $36,000.00

NSW Department of Education and Training

travel subsidies, teacher relief and administration costs for the ATYP Indigenous Drama Camp ($20,000) and the Creative

Education Partnerships professional development forum ($15,000)

$35,000.00

Outback Arts Inc. the creation and presentation of the Farwest Indigenous Art Exhibitions [VACS] $8,000.00

PACT Centre for Emerging Artists

the creation and presentation of new works by six Indigenous emerging artists $8,294.00

Penrith Performing and Visual Arts Ltd.

the creation and touring of an all Indigenous cast production of The Maids $30,000.00

The Performance Space IndigeSpace 2011 $40,000.00

The Performance Space Inc. IndigeLab 2011 $30,000.00

Playwriting Australia the Aboriginal Community Playwriting pilot project $30,000.00

Port Macquarie Hastings Council for Glasshouse

Arts, Conference & Entertainment Centre

the creation and presentation of Project People of the First Sunrise; East

Coast Indigenous Art [VACS] $17,000.00

Port Macquarie–Hastings Council for the creation of

Migration Heritage in the Hastings: Stage 1

the creation of Migration Heritage in the Hastings: Stage 1 $14,000.00

Red Room Company an Unlocked project for Aboriginal inmates in NSW correctional centres in 2011 and 2012 $30,000.00

Saltwater Freshwater Arts Alliance

the strategic industry development: the Community Engagement Officer position (2011) $26,484.00

Saltwater Freshwater Arts Alliance Aboriginal

Corporationthe Burrin Makurr Weaving Workshop $15,000.00

South Coast Writers' Centre Inc Celebrating the Voice 11: South Coast Tour $15,000.00

South Coast Writer's Centre Inc.

the creation and presentation of an Indigenous Writers and Educators Symposium $10,000.00

Sydney Festival the Aboriginal production position and NSW Aboriginal arts components $100,000.00

Sydney Opera House Message Sticks expansion $100,000.00

Tamworth Regional Conservatorium

the commissioning of a new work for orchestra and didgeridoo $2,920.00

The Performance Space Ltd. For Ms

Vicki Van Houtthe creation and presentation of Briwyant` $30,000.00

Wagga Wagga City Council Wiradjuri Festival Empty House Project $30,000.00

Wagga Wagga City Council for Wagga Wagga Art Gallery

Emerging Curator Program $12,000.00

West Darling Arts Inc for for Wilcannia Arts

the Wilcannia Artist Professional Development Workshops $14,100.00

TOTALS $2,558,672 .00

10099

RECIPIENT PROGRAM NAME/ PURPOSE AMOUNT ($)

3rd Space Mob Aboriginal and

Torres Strait Islander Corp

The Welcome to Gumaynggirr project $15,000.00

Armidale & Region Aboriginal Cultural Centre &

Keeping Place

Year 2 of triennial program funding (2011–2013) $55,990.00

Arts Northern Rivers Inc

The Indigenous Artists Books of the Northern Rivers project $14,910.00

Arts Northern Rivers Inc The Big Picture project $10,340.00

Arts On Tour – NSW Ltd for Bangarra Dance Theatre Australia Ltd

A tour of `Of Earth and Sky $133,693.00

Arts On Tour – NSW Ltd for Big hART Inc A tour of `Namatjira $58,011.00

Artspace Visual Arts Centre Ltd

The Contemporary NSW Aboriginal Artist Book Series Project $38,000.00

Australasian Performing Right Association Ltd

The attendance of three NSW Aboriginal musicians at the 2012 Song Summit $2,320.00

Australian Dance Council – Ausdance

(NSW) Inc

The strategic industry development of the Australian Youth Dance Festival

at NAISDA Dance College $30,000.00

Australian Theatre for Young People

The 2012 Transitions Camp & Workshop for Aboriginal Middle Years $40,000.00

Bangarra Dance Theatre Australia Ltd

Year 2 of triennial funding towards the Indigenous Employment Program (2011–2013) $100,000.00

Bangarra Dance Theatre Australia Ltd

Year 1 of a NSW Aboriginal Dance Initiative (2012–2014) $75,000.00

Bangarra Dance Theatre Australia Ltd Year 1 of triennial program funding (2012–2014) $184,649.00

2012 FUNDING RECIPIENTS

Bangarra Dance Theatre Australia Ltd Year 2 of the Safe Dance project (2011–2013) $50,000.00

Beyond Empathy LtdYear 2 of triennial funding (2011–2013)

for the Better Factory Enterprise Strategy, Bowraville NSW

$100,000.00

Biennale of Sydney A NSW Aboriginal Professional Development Program $72,750.00

Blackfella Films Pty Ltd Blackfella Films @ Sydney Film Festival $10,000.00

Blacktown City Council for Blacktown

Arts CentreThe Native Institute Program $45,000.00

BlakDance Australia Limited

for Ms Vicki Van Hout – 2012 APAM registration $770.00

Blue Mountains City Council

The creative development of `Crossing Country, Making Tracks and Sharing Culture $30,000.00

Boomalli Aboriginal Artists Co–

operative Ltd

A General Manager position 2012/13 – 2013/14 $100,000.00

Bundanon Trust The Adopt a School Program $20,000.00

Bundanon Trust The Oolong House Art Project (OHAP) $15,000.00

"Campbelltown City Council

for Campbelltown Arts Centre"

Year 1 Of The Parliament Of Nsw Aboriginal Art Prize And Scholarship

Program (2012–2014) $50,000.00

Campbelltown City Council for Campbelltown

Arts Centre

A project with the Aboriginal community on the Airds Housing Estate (stage 1),

in partnership with Housing NSW $50,000.00

CarriageWorks Ltd The Artistic Associate Indigenous Leadership Program $75,000.00

102101

Dubbo City Council for Western Plains Cultural Centre

The creative development and public presentation of `Where we are: Headdresses,

belts and cloaks of the Wiradjuri` $15,000.00

Gadigal Information Service Aboriginal

Corporation 2012 annual program funding $45,000.00

Goulburn Mulwaree Council for Goulburn Regional Art Gallery

The strategic industry development of Indigenous art & culture workshops

at Goulburn Correctional Centre s Aboriginal Cultural Centre

$40,000.00

Information and Cultural Exchange Inc The `New Voices youth arts initiative $140,000.00

Insite Arts International Unit Trust for Pearson, R ., Townson, S ., and Alberts, J .

Participation in the International Performing Arts for Youth Annual

Showcase in Austin, Texas $10,000.00

Library Council of NSW for Dhiiyaan

Aboriginal Centre Moree

The Dhiiyaan Aboriginal Centre Moree Director s position and collection management $200,000.00

Lightning Ridge Neighbourhood Centre Inc for Warrambool Dreaming

Weaving the Warrambool Dreaming project $6,000.00

Marguerite Pepper Productions Pty

Ltd for My Darling Patricia Inc

Travel costs $7,080.00

Moogahlin Performing Arts

Incorporated for Ms Andrea James – 2012

APAM registration

2012 annual program funding $770.00

Moorambilla Voices Limited 2012 Program Funding $49,000.00

Mosman Municipal Council for Mosman

Art Gallery & Community Centre

The creative development and public presentation of a contemporary

Aboriginal visual art exhibition `Bungaree: The First Australian , Stage 2

$50,000.00

Mr Clive Freeman Participation In The International Congress, Archeaology And Rock Art, In La Paz, Bolivia $2,242.00

Ms Therese Allas 2011 Fellowship $30,000.00

Murray Arts Inc - Walking Forward – workshops and exhibition $10,700.00

Music NSW Incorporated

The Creative Developmentand Public Presentation Of The Barefoot Divas

`walk A Mile In My Shoes $40,000.00

National Aboriginal Islander Skills Development

Association Inc

The Talent Identification Residency Program (Dance) 2012 $65,000.00

Newcastle City Council

The Loft Youth Arts & Cultural Centre – 2012 annual program funding $38,679.00

Saltwater Freshwater Arts

Alliance Aboriginal Corporation

The Birpai canoe revival project $12,100.00

South Coast Writers Centre Inc

The creative development of workshops for inmates at Junee Correctional Centre with published Aboriginal

writers, and public readings

$12,000.00

Sydney Opera House Trust

Year 2 Of Biennial Project Funding (2011–2012) For Expanding And

Revitalising The Message Sticks Brand $100,000.00

The British Council Year 2 of triennial funding (2011–2013)

for the ACCELERATE Indigenous Australian Leadership Program

$30,000.00

The Performance Space Ltd

The strategic industry development of IndigeSpace Residencies $42,245.00

The Trustee for Australian Museum Trust

The Australian Museum leadership activity (NACIS funding) $67,500.00

Yarkuwa Indigenous Knowledge Centre

Aboriginal CoThe Artist in Residency program $5,000.00

Yarrawarra Aboriginal Corporation The Gaagal Exhibition and art event $15,000.00

TOTALS $2,409,749 .00

104103

RECIPIENT PROGRAM NAME/ PURPOSE AMOUNT ($)

3rd Space Mob Aboriginal and

Torres Strait Islander Corp

The Welcome to Gumaynggirr project $15,000.00

Armidale & Region Aboriginal Cultural Centre &

Keeping Place

Year 2 of triennial program funding (2011–2013) $55,990.00

Arts Northern Rivers Inc

The Indigenous Artists Books of the Northern Rivers project $14,910.00

Arts Northern Rivers Inc The Big Picture project $10,340.00

Arts On Tour – NSW Ltd for Bangarra Dance Theatre Australia Ltd

A tour of `Of Earth and Sky $133,693.00

Arts On Tour – NSW Ltd for Big hART Inc A tour of `Namatjira $58,011.00

Artspace Visual Arts Centre Ltd

The Contemporary NSW Aboriginal Artist Book Series Project $38,000.00

Australasian Performing Right Association Ltd

The attendance of three NSW Aboriginal musicians at the 2012 Song Summit $2,320.00

Australian Dance Council – Ausdance

(NSW) Inc

The strategic industry development of the Australian Youth Dance Festival

at NAISDA Dance College $30,000.00

Australian Theatre for Young People

The 2012 Transitions Camp & Workshop for Aboriginal Middle Years $40,000.00

Bangarra Dance Theatre Australia Ltd

Year 2 of triennial funding towards the Indigenous Employment Program (2011–2013) $100,000.00

Bangarra Dance Theatre Australia Ltd

Year 1 of a NSW Aboriginal Dance Initiative (2012–2014) $75,000.00

Bangarra Dance Theatre Australia Ltd Year 1 of triennial program funding (2012–2014) $184,649.00

2013 FUNDING RECIPIENTS Bangarra Dance Theatre Australia Ltd Year 2 of the Safe Dance project (2011–2013) $50,000.00

Beyond Empathy LtdYear 2 of triennial funding (2011–2013)

for the Better Factory Enterprise Strategy, Bowraville NSW

$100,000.00

Biennale of Sydney A NSW Aboriginal Professional Development Program $72,750.00

Blackfella Films Pty Ltd Blackfella Films @ Sydney Film Festival $10,000.00

Blacktown City Council

for Blacktown Arts Centre

The Native Institute Program $45,000.00

BlakDance Australia Limited

for Ms Vicki Van Hout – 2012 APAM registration $770.00

Blue Mountains City Council

The creative development of `Crossing Country, Making Tracks and Sharing Culture $30,000.00

Boomalli Aboriginal Artists Co–

operative Ltd

A General Manager position 2012/13 – 2013/14 $100,000.00

Bundanon Trust The Adopt a School Program $20,000.00

Bundanon Trust The Oolong House Art Project (OHAP) $15,000.00

Campbelltown City Council

for Campbelltown Arts Centre

Year 1 Of The Parliament Of Nsw Aboriginal Art Prize And Scholarship

Program (2012–2014) $50,000.00

Campbelltown City Council for Campbelltown

Arts Centre

A project with the Aboriginal community on the Airds Housing Estate (stage 1),

in partnership with Housing NSW $50,000.00

CarriageWorks Ltd The Artistic Associate Indigenous Leadership Program $75,000.00

Dubbo City Council for Western Plains

Cultural Centre

The creative development and public presentation of `Where we are: Headdresses,

belts and cloaks of the Wiradjuri` $15,000.00

106105

Gadigal Information Service Aboriginal

Corporation 2012 annual program funding $45,000.00

Goulburn Mulwaree Council for Goulburn Regional Art Gallery

The strategic industry development of Indigenous art & culture workshops

at Goulburn Correctional Centre s Aboriginal Cultural Centre

$40,000.00

Information and Cultural Exchange Inc

The `New Voices youth arts initiative $140,000.00

Insite Arts International Unit Trust for Pearson, R ., Townson, S ., and Alberts, J .

Participation in the International Performing Arts for Youth Annual

Showcase in Austin, Texas $10,000.00

Library Council of NSW for Dhiiyaan

Aboriginal Centre Moree

The Dhiiyaan Aboriginal Centre Moree Director s position and collection management $200,000.00

Lightning Ridge Neighbourhood Centre Inc for Warrambool Dreaming

Weaving the Warrambool Dreaming project $6,000.00

Marguerite Pepper Productions Pty

Ltd for My Darling Patricia Inc

Travel costs $7,080.00

Moogahlin Performing Arts Incorporated for

Ms Andrea James – 2012 APAM registration

2012 annual program funding $770.00

Moorambilla Voices Limited 2012 Program Funding $49,000.00

Mosman Municipal Council for Mosman

Art Gallery & Community Centre

The creative development and public presentation of a contemporary

Aboriginal visual art exhibition `Bungaree: The First Australian , Stage 2

$50,000.00

Mr Clive Freeman Participation In The International Congress, Archeaology And Rock Art, In La Paz, Bolivia $2,242.00

Ms Therese Allas 2011 Fellowship $30,000.00

Murray Arts Inc - Walking Forward – workshops and exhibition $10,700.00

Music NSW Incorporated

The Creative Developmentand Public Presentation Of The Barefoot Divas

`walk A Mile In My Shoes $40,000.00

National Aboriginal Islander Skills Development

Association Inc

The Talent Identification Residency Program (Dance) 2012 $65,000.00

Newcastle City Council

The Loft Youth Arts & Cultural Centre – 2012 annual program funding $38,679.00

Saltwater Freshwater Arts

Alliance Aboriginal Corporation

The Birpai canoe revival project $12,100.00

South Coast Writers Centre Inc

The creative development of workshops for inmates at Junee Correctional Centre with published Aboriginal

writers, and public readings

$12,000.00

Sydney Opera House Trust

Year 2 Of Biennial Project Funding (2011–2012) For Expanding And

Revitalising The Message Sticks Brand $100,000.00

The British Council Year 2 of triennial funding (2011–2013)

for the ACCELERATE Indigenous Australian Leadership Program

$30,000.00

The Performance Space Ltd

The strategic industry development of IndigeSpace Residencies $42,245.00

The Trustee for Australian Museum Trust

The Australian Museum leadership activity (NACIS funding) $67,500.00

Yarkuwa Indigenous Knowledge Centre

Aboriginal CoThe Artist in Residency program $5,000.00

Yarrawarra Aboriginal

Corporation The Gaagal Exhibition and art event $15,000.00

TOTALS $2,241,335

108107

RECIPIENT PROGRAM NAME/ PURPOSE AMOUNT ($)

Albury City Council for Albury Regional

Art Gallery On Wiradjuri Country Residency $9,597.00

April Phillips Participation in the 2014 'Artist–in–factory' event, Olofstrom, Sweden $4,100.00

Armidale & Region Aboriginal Cultural Centre &

Keeping Place

2014 annual program funding $55,990.00

Arts Northern Rivers Inc . Aboriginal Mentorship Project $19,000.00

Australasian Performing Rights

Association

A NSW music industry skills development program for Aboriginal musicians $65,000.00

Australian Theatre for Young People

Djurali' Aboriginal Middle Years Transition Program $35,000.00

Bangara Dance Theatre Australia Ltd

Year 3 of multiyear program funding (2012–2014) $534,649.00

Bangarra Dance Theatre Australia

Year 3 of a NSW Aboriginal Dance Initative (2012–2014) Birrang $50,000.00

Bangarra Dance Theatre Australia

Arts programming for Corroboree Sydney's 2014 Firelight Ceremony,

Black Arts Market and the Boatshed $50,000.00

Bankstown City Council

for Bankstown Arts Centre

InterGENERATE' Program $48,500.00

Blacktown City Council for Blacktown

Arts Centre

The Blacktown Native Institute Artist and Community Camps $50,000.00

Blue Mountains Aboriginal Culture

and Resource Centre

The Wagana Aboriginal Dancers' Seoul Friendship Festival Performance $4,800.00

2014 FUNDING RECIPIENTS Boomali Aboriginal Arts Co–operative Ltd 2014 annual program funding $50,000.00

Bundanon Trust Micro World' project $10,000.00

Campbelltown City Council for Campbelltown

Arts Centre

Year 3 of the Parliament of NSW Aboriginal Art Prize and Scholarship

Program (2012–2014) $50,000.00

Campbelltown City Council for Campbelltown

Arts Centre

The Appin Massacre project $30,000.00

Carriageworks Ltd

Year 2 Of The Placement Of Four Aboriginal Artists At Alexandria Park Community School And The National Centre Of Indigenous Excellence (2014–2016)

$40,000

Carriageworks Ltd Hereby Make Protest' NAIDOC Week program of exhibitions and performances $10,000.00

Colin Kinchelaparticipation in the 2014 Next Wave

Festival: a co-presentation with Malthouse Theatre's Helium Season, Melbourne

$3,000.00

Country Music Association of Australia Troy Cassar-Daly scholarship program $5,000.00

Danielle Sullivan Attendance at the opening of the Australian Business Cultural Centre, Poland $2,300.00

Dharrawuli Gabanmali Aboriginal Corporation

The `healing Through Culture Basketweaving Workshop $13,840.00

Dubbo City Council for Western Plains Cultural

Centre (WPCC) WPCC Carved Trees Exhibition $6,250.00

Euraba Paper Aboriginal Corporation

a partnership with Moree Plains Gallery and Boomalli Aboriginal Art to increase capacity and exposure for Euraba artists and Goomeroi culture

$150,000.00

Flying Fruit Fly Foundation Burranha Bila Buraay (Bouncing River Kids) $15,000.00

Gadigal Information Service Aboriginal

Corporation 2014 annual program funding $45,000.00

110109

Intimate Spectacle for Vicki Van Hout

The development, premiere and touring of Vicki Van Hout's Long Grass' $50,000.00

Liverpool City Council for Casula Powerhouse

Arts Centre

Touring Elders of Liverpool exhibition by Mervin Bishop $21,500.00

Luke Close Waitawhile $3,000.00

Marguerite Pepper Productions for Rhonda

Dixon Grovenor

the development and presentation of 'The Fox & The Freedom Fighters' $58,530.00

Moorambilla Voices Ltd 2014 annual program funding $51,450.00

Murray Arts Inc . Get it Right' workshops and exhibition $7,500.00

Museum of Contempoary Arts

Aboriginal Arts Worker Professional Development activity in partnership with the

Indigenous Visual Arts Industry Support (IVAIS) program professional development fund

$125,000.00

Museums and Galleries NSW Keeping Places $50,000.00

NAISDA Limited Garabara Ngurrra Talent Identification Program $54,970.00

New England Regional Art Museum Ltd

Project ID'; an Aboriginal/CALD identity project with Drummond Primary School $12,667.00

Northern Rivers Conservatorium

Arts Centre

David Page as Sound/Music Designer for creative development

of 'Bundjalung the Gathering' $11,176.00

Orana Arts Inc . Song to Sing' project $20,000.00

Outback Arts Inc Together Dreaming building arts capacity in the Outback $15,000.00

Penelope Anne Evans The 'Stranded' project $2,950.00

Philip McLaren Travel to Paris $2,853.00

Positive Solutions Workshop travel costs for participating Aboriginal arts organisations $6,000.00

Positive SolutionsDevelop and manage a program on

governance, legal and structural issues for Aboriginal arts organisations

$50,000.00

Saltwater Freshwater Aboriginal Arts Alliance 2014 annual program funding $100,000.00

Shaun Parker & Company Limited

the 'Generate' Indigenous dance theatre skills development and mentorship project $22,783.00

South East Arts (NSW) Inc .

The artistic and business development of the Djaadjawan Dancers $20,000.00

South East Arts (NSW) Inc . Grow the Music – Wallaga Lake $14,000.00

Terrance William Wright The 'Bimbaya' exhibition $3,000.00

Thankakali Aboriginal Corporation Thankakali Art Group $14,450.00

The Performance Space

Travel and acccomodation for 5 emerging NSW Aboriginal artists to participate in the Origins Festival of First Nations, London

$10,000.00

The British Council Year 1 of the 'ACCELERATE' leadership program (2014–2016) $30,000.00

Nicole Foreshew Grounded: Earths’ materials, processes and structures $30,000

Walgett Aboriginal Medical Service

Artwork for the Walgett Aboriginal Medical Service Chronic Diseases Building $10,000.00

TOTALS $2,153,855 .00

111

Evaluation Report prepared for Arts NSW by Lois Randall Creative Consulting 29 March 2016 www .loisrandall .com .au